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New Trends and Issues Proceedings on Humanities and Social Sciences Issue 7 (2016) 01-11 New Trends and Issues Proceedings on Humanities and Social Sciences Issue 7 (2016) 01-11 Selected paper of 3rd Global Conference on Linguistics and Foreign Language Teaching (LINELT 2015) 16-18 November 2015, Istanbul University, Istanbul – Turkey Africa’s White Women Karin Ilona Paaschea *, Independent Researcher, Nairobi 00200, Kenya Suggested Citation: Paasche, K. I. (2016). Africa’s White Women. New Trends and Issues Proceedings on Humanities and Social Sciences. [Online]. 07, pp 01-11. Available from: www.prosoc.eu Selection and peer review under responsibility of Prof. Dr. Ali Rahimi, University of Bangkok ©2016 SciencePark Research, Organization & Counseling. All rights reserved. Abstract The place of Africa’s white woman is ambivalent. Often called the oppressed oppressor, she is not a protagonist in her own right. Yet history tells of her crucial contribution to Africa’s freedom struggle. Frantz Fanon says black men believe being loved by her is to be loved “like a white man” and so be white. Doris Lessing’s “poor white” man’s bored wife wants sex with the houseboy. Nadine Gordimer portrays her as a pale, insipid counterpart to African women’s vital beauty pictured in terms disturbingly similar to those characterizing noble savages. In J.M. Coetzee’s Disgrace African men inflict “corrective rape” on her. Black African writers portray her more compassionately. Ngugi wa Thiong’o speaks of “the reduction of white women to nothing.” In Peter Abrahams’s works she joins Africa’s freedom struggle yet becomes the victim of an African freedom fighter’s ruthless exploitation. Mariama Ba depicts her as mercilessly exploited by her black African husband who proves his manhood through her even as he secretly appropriates her resources for his own purposes. South Africa’s people’s poet Mzwakhe Mbuli acknowledges her among the women who helped free Africa, and continue to make a contribution. Zanzibari writer Abdulrazak Gurnah returns her to Eastern Africa to discover her own roots, to listen to the stories told by those her ancestors once ruled. This paper explores the identity and place of white women as depicted in African literature. Keywords: white women in Africa; Africa; African Literature; interracial relationships; * ADDRESS FOR CORRESPONDENCE: Karin Ilona Paasche, Independent Researcher, Nairobi 00200, Kenya E-mail address: [email protected]/ Tel.: +254 73 171 4200 Paasche, K. I. (2016). Africa’s White Women. New Trends and Issues Proceedings on Humanities and Social Sciences. [Online]. 07, pp 01-11. Available from: www.prosoc.eu 1. Introduction There is “subterraneously *…+ a powerful willing of the total extinction of the white man. He aroused a terrible hatred.” And there is also the hatred of Africans, “the African hair *…+ the African nose” (Head, 1974). So says South African novelist Bessie Head, the daughter of a white woman and a black stable hand. Her life in many ways mirrors the white woman’s African dilemma. Bessie Head was the daughter of a white South African mother who had been confined to a mental asylum when she became pregnant by a Black stable hand. Here Bessie was born. And it was here that Bessie’s mother died. In A Question of Power her main character Elizabeth tells her story. She grew up in foster homes where she was rejected each time they discovered she was a “Coloured” (in South Africa a person of mixed black-white racial heritage). Only her grandmother insisted on visiting her whenever the family came to the races in Durban. In the mission school to which she was sent all were on the watch for the insanity which had confined her mother to the insane asylum. In her novels Bessie’s characters reflect the schizophrenia of her own existence as the non-human child of a white woman as they spiral into the madness of racial disconnect. The question here is how literary representations of Africa’s white women reflect the psychology of their relationship to the continent and its people. The white woman in Africa. Who is she? Where does she belong? 2. Blood, Taint, Flaw, Degeneration In early South African novels, the white woman lives in a world of unselfconscious stereotypes. Olive Schreiner’s (1883) The Story of an African Farm presents a satiric portrayal of the communities of the Karoo and the general violence and brutality characterizing its inhabitants. Tant Sannie, the rather comical Boer woman, is more intent on finding a husband than on interacting with the native people of the region. In Schreiner’s (1926) From Man to Man racial sensibilities have become more problematic. Rebekah is however, more concerned about her husband’s infidelity than the fact that he has been unfaithful with a black woman. Although she adopts her husband’s “Coloured” child, Rebekah’s own children are embarrassed at being seen with their half-sister, who is called a “black nigger” by her own father and by the neighbors. It is only with Sarah Gertrude Millin’s (1924) God’s Stepchildren that issues of blood resulting from inter-racial social relationships become a theme to be explored. Thus in “Blood, Taint, Flaw, Degeneration” (1988), his analysis of God’s Stepchildren, J.M. Coetzee traces the scientific philosophy of blood which found one of its most brutal expressions in the Nazi Holocaust, back to the “respectable historic and scientific thought” (p.138) of the mid nineteenth century. It was blood which distinguished races from each other and which defined those biologically predestined to rule the world. In sexual intercourse the “quintessence of blood flows from man to woman” (p. 138). The “tainted” embryo’s blood then flows between it and the mother, forever tainting her. Thus, in South Africa white women were the guarantors of the purity of the white race. Apartheid laws governing sexual behavior were formulated around them. The Immorality Act, No. 5 of 1927 forbade “illicit carnal intercourse” between “European” and “Native.” Native was later changed to “non-European” in The Immorality Amendment Act, No. 21 of 1950. And The Prohibition of Mixed Marriages Act, No. 55 of 1949 made marriages between Europeans and all non-Europeans invalid. This meant that on the surface all sexual cohabitation between the white and the non-white races was forbidden. In practice however, the laws were less concerned with white men’s forays into black women’s lives. Schreiner’s (1926) From Man to Man already shows that children who resulted from these escapades were after all not white, and so of no real concern to white society. Black men, who since colonialism’s beginnings were emasculated “boys” and were treated as such, could not protect their women from white men’s lusts. Yet white women remained taboo to these emasculated black men who were nevertheless seen as the greatest threat both to white women’s sexual integrity and to the purity of the white race. The story of Bessie Head’s mother illustrates that no white woman in her 2 Paasche, K. I. (2016). Africa’s White Women. New Trends and Issues Proceedings on Humanities and Social Sciences. [Online]. 07, pp 01-11. Available from: www.prosoc.eu right mind would venture across the color line. Furthermore, in this narrative the narrative of the black lover, a stable “boy,” fits well into the mythology of the animal-stud-like qualities attributed to black men. The consequences of this mythology are apparent not only in South African literature, but to this day determine many legal but troubled relationship between couples from different racial groups in Africa. As Frantz Fanon (2008) points out in Black Skin, White Masks, in the dynamics of cross-racial sex the white woman is the one who the black man believes can fulfil his longing to be white: being loved by her is to be loved “like a white man” and so to be a white man (p.45). And so in Ngugi’s wa Thiongo’s (2006) Wizard of the Crow (p.179-180), when Tajirika realizes that all that can distinguish him from other rich black men is a white skin, he considers marrying a white woman and so becoming English. 3. Africa’s White Women It is in South Africa that the implications of this mythology appear most frequently. Even after the 1985 abolition of the laws forbidding sexual cohabitation between “European” and “non-European” races, South Africa, home to different nations and races, was not concerned with the racial intermingling of the country’s many races. At stake was the purity of the white race. The guarantor of that purity was the untouchable white woman who remained the possession of the white man, forever taboo to black men. While this philosophy was generally not as overtly formulated in other literature on the African continent, it to this day permeates not only South African literature, but is a central theme in the literature of other African countries. It continues to determine international representations of the African continent. 3.1 White Women: Hollywood and the Fashion World Perhaps amongst the greatest enemies of Africa’s White women are Hollywood and the fashion world. Thus for example in Sydney Pollack’s block buster award-winning film Out of Africa (1985) Meryl Streep plays Karen Blixen - the woman who can shoot straight, love wildly, and ride unkempt into an all-male war camp, and not give credit to the Kenyan Africans who have walked all the way. Despite her challenge of a male-dominated colonial world, she nevertheless remains primarily the object of romantic love intrigues. While she is the one who heals sick Africans and brings education to them despite the objections of the Kikuyu chief, black people play no major role in Karen Blixen’s life except as servants and as trusted confidants who like the Muslim Faran live in close proximity to her yet nevertheless keep a chaste distance.
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